Enter Thomas Hardy Essay Example for Free

Enter Thomas Hardy Essay Enter Thomas Hardy, Alfred Lord Tennyson, Robert Browning, Gerard Manley Hopkins and William Blake. The poets are seated around a small table in a crowded and agitated Chinese restaurant, at the heart of Texas. After the initial shock and excitement of their unwonted experience, they all meditate on the state of the world in which they have accidentally landed, poring over a newspaper cut that announces the death of a young girl as a result of heroin overdose. A heavy silence has set on the poets’ table, in strange contrast to the loud mirth of the small Chinese restaurant. Raising his brow, Hardy interrupts the silence. He speaks slowly, with a clear but tired voice: Hardy: Surely my beliefs are strengthened by this terrible mishap. If only there was a malevolent ruler of the universe to blame for the cruel death of this young girl. Then all our voices would roar against him, accusing him of injustice and absurdity. We would feel betrayed and angry that the supreme ruler of the world ill-uses his creatures so. But I see it clear now, as I have seen it and heard it so often in the mysterious and neutral voice of nature all around me: the universe is a hollow shell; there is no other voice in this world than that of nature and chance echoing through the ages and creating havoc in our poor, mortal existence. The death of this beautiful child is the answer of the impersonal and cruel force of chance to all our hopes and ideals. There are many of us who have fallen in love with the world and its wonders, as there are many of us who have always hated it. I have heard the world speak to me many times, warning me not to look for meanings where there are none. I have long heard it say to me not to look for promises in the web of uncertainties and in the play of chance. This is what the world has long said to me: `I do not promise overmuch, Child; overmuch; Just neutral-tinted haps and such. This fair warning still rings in my ears today. There is only chance in this world, that is all there is. Nothing lasts and no sense can be made of all we see around us. We look for meanings where there are only occurrences. One happening follows another and we are at the mercy of chance and time. Despite our passionate search for answers, the nature sends back only a dispassionate, neutral response, playing its games and rolling the dices. Casualty is the most powerful governing law we have and there is no hope for escape. It is this â€Å"crass Casualty† that â€Å"obstructs the sun and rain†, giving us the good moments and the bad moments by turns. Nature follows its own logic, not ours. And time plays dice with the world, casting its sums of moans and joy and making us obey its impersonal and mute force. I do not see any other meaning in the death of this young girl. She, like the rest of us, was in the hands of chance. Had her life been long and happy, she would have owed it all to chance still. There is too much arbitrariness in everything to believe we are ruled by a God who reasons and who loves. Nothing happens for a reason. Do not further look for meaning in this my friends, for there are none and never expect much, for there is nothing more†¦ The others have listened in silence to Hardy’s disconsolate speech. When he ceased however, Tennyson began in a tremulous, shaken voice: Tennyson: Oh, my friends, these would have been my own words once. Like you, I would have looked upon this young girl’s death as the substantiation of all my aching questions. I have often felt like an infant crying desperately for knowledge, for the light of meaning to suppress the darkness of the world! At times there seemed to be no answer anywhere. I wanted to see that â€Å"nothing walks with aimless feet†, that there is no destruction of life and that everything that happens has a purpose and a meaning in the larger, unseen order of things. I wanted to understand God as the careful designer of all, the divine force that gives meaning to everything there is and does not allow anything to perish. I painfully wavered between belief and disbelief†¦ At times, I could not endure the thought that anything in the world was useless or devoid of purpose. If God was here with us, a mere worm would have its significance in the world and its place in eternity along with the whole of the creation. But oftentimes my belief and my need for knowledge stumbled on the carelessness of nature. I wondered many times whether â€Å"God and Nature† were â€Å"at strife†, seeing â€Å"that Nature lends such evil dreams†. The hope in a divine order of things seemed to be shattered every time I beheld the evil workings of nature. Truly, nature seems not to care for the individual life. It crushes and destroys and casts life away â€Å"as rubbish to the void†. To me also then nature was a nightmare I could not make any sense of. A while ago, this innocent girl’s death would have seemed another evil deed of nature, an unjust robbery. Life and man’s entire existence seemed so futile at certain moments†¦A mere girl dying for no reason, a whole life cut short because of a misplaced step†¦Oh, how easy it is for reason to doubt everything and for faith to die in the soul of man! But since, I have been shown a different path and for me faith has been renewed. Even at times like these, I feel that we have God in our souls, even if it difficult to perceive him in nature. I now know that it was the voice in my heart that has kept me from disbelief. Each time the voice of ‘cold reason’ interfered and questioned the meaning of all, â€Å"my heart stood up and answered: ‘I have felt’! †Ã¢â‚¬ ¦ Reason made me blind at times, but my heart cried out and melted my anger with its passion. Our knowledge of God comes only in these moments when the heart answers eagerly and warmly to all our questions. The death of a child makes me sad beyond speech, but it does not harden me anymore. I now believe that death is just a brief moment that takes us from life’s shore to death’s domain and God’s infinite ocean. God awaits us on the infinite ocean and he will be our Pilot ever after, our guiding light in the infinite sea of time and matter. Once I cross over, â€Å"I hope to see my Pilot face to face†, and I hope that this young girl has already seen him†¦ Tennyson had spoken warmly and tremulously, his whole soul into the words that tumbled from him. From his shaded place at the table, Browning replied: Browning: Your soul is as pure as your faith, my dear Tennyson. We have reached this strange time and place in history to meet death itself and behold it through the eyes of a child. Mortals fear death, with its unknown grip that will surround each of us as a mist and transport us to some mysterious realm. Life is strange and death seems even stranger. Any mortal would feel shaken in front of this last and final struggle. But what could it be in the end, but one more experience and the last in this life? â€Å"I would hate that Death bandaged my eyes, and forbore and made me creep past. † I want to taste death to the full as I have tasted this life and feel the moment in its fullness. The girl has left this world but someone will be waiting for her on the other side and her soul will be filled again. Once I am gone from this world, I know that I will regain my lost love and clasp her in my hands once more. Death is but a brief moment, a struggle that will takes us to a place of eternal peace, where we will rest with God. This world is indeed full of chances and mishaps, but all these will be resolved once we are on the other side†¦If love has remained unfulfilled in this life, it will be rekindled in eternity. I do believe that we lose nothing by death and that the other life is as rewarding as this one. I do not fear death and only expect it to carry me back to my lover†¦This girl must have led a tormented life, the prey of her own restless desires and questions, like all of us. She will find her peace in the eternal life and she will find her place there. There is nothing to fear, not even death†¦I will wait for it but not as an end, only as a new and fresh beginning. Browning had but uttered these words that Hopkins began: Hopkins: Shake off the discontent that has intruded upon your hearts, my friends! You see the death of a child as a black and tragic event, and it certainly seems so when our mortal and untrained eyes behold it. Man is frail in the hands of the divine will, his powers are limited†¦. But the more mighty seems the everlasting ruler of the world! The drudgery of our existence seems to hide God’s glory from our eyes. â€Å"Generations have trod, have trod, have trod; and all is seared with trade; bleared, smeared with toil†¦Ã¢â‚¬  The earth itself smells of man and his works. Yet, in the midst of all this trade and toil we the world appears â€Å"charged with the grandeur of God. † His creation and power and infinite and so are the possibilities of the world. It is through God’s almighty design that we see light disappear in one part of the world, knowing that it suddenly begins to shine in another. Just like light and darkness always coexist, nothing reigns in nature for an unlimited period of time. Through the power of God, the good and the bad coexist in the world at all times. This girl’s death is compensated by another design of God, perhaps unknown to us at present. Only God could make all these different things come into existence at the same time. â€Å"Nature is never spent, there lives the dearest freshness deep down things. † Tasting life, with its good and bad moments, we taste of the very glory of God, who is careful to pour his infinite essence into everything there is. Death is not an end as long as God lives in everything, as long as joy springs up from each fresh beginning. Each day begins with a morning and ends with a night, and yet nothing is ever the same. God’s glory shines through all things, like a foil that you shake in the light. There are no dead things in this world; all matter becomes translucent and fiery with God’s light. With a death, the world may seem bent like a hunchback, crushed underneath the weight of loss, but overall I see the shining spirit of the Holy Ghost shaking its bright wings! The body of the world will ever be lifted by the wings of the almighty spirit! There is no permanent death and no reason for sorrow in a world in which we see the proof of God’s greatness in everything. Learn how to see the world anew, rejoicing in the immense power of the Lord, that is without beginning and without end†¦

Recommendation Letter for Former Employee :: Business Recommendation Letters

November 20, 2004 Mr. Richard Pillsbury Manager, Marketing Services All Industries Inc. 111 Strawberry Bend, Suite 1551 Smallville, OH 05252 Dear Mr. Pillsbury: This is in response to your recent request for a letter of recommendation for Mary Lamb who worked for me up until three years ago. Mary Lamb worked under my direct supervision at Technical Technologies for a period of five and a half years ending in August 2003. During that period, I had the pleasure of seeing her blossom from a junior marketing trainee, into a fully functioning Marketing, Program Co-Ordinator, in her final year and a half with the company. That was the last position she held before moving on to a better career opportunity. Mary is a hard-working self-motivator who understands exactly what a project is all about from the outset, and how to get it done quickly and effectively. During her year and a half in the Marketing Co-Ordinator position, there was never an instance in which she missed a major deadline. She often brought projects in below budget, and a few were even completed ahead of the deadline. Ms. Lamb is a resourceful, creative, and solution-oriented person who was frequently able to come up with new and innovative approaches to her assigned projects. She functioned well as a team leader and she worked effectively as a team member under the direction of other team leaders. On the interpersonal side, Mary has superior writing and verbal communication skills. She gets along extremely well with the staff under her supervision, as well as colleagues at her own level. She is highly respected, both a person and a professional, by colleagues, employees, suppliers, and customers. A year ago, when Ms. Lamb announced her resignation to take up a new position with a larger company, we were not happy to see her leave, although we wished her the best in her new undertaking.

Many characters in To Kill A Mockingbird are isolated from mainstream :: To Kill a Mockingbird Essays

Many characters in To Kill A Mockingbird are isolated from mainstream society. Discuss the ways in which Atticus Finch and one other character are set apart from the society of Maycomb To Kill A Mockingbird was set in the 1930s in the south of USA, Alabama. At that period, slavery had already been made illegal. But people in the south were a bitter about it because they still believed that they needed the slaves to maintain their cotton farms. They didn't treat the blacks as though they had the same social status as them and basically still treated them as though they were still slaves. This unfair prejudice was widespread throughout the south. "Maycomb", didn't actually exist but was meant to be the embodiment of a typical town in the south at that time. In Harper Lee's To Kill A Mockingbird, she has created characters who seem a little different and thus, isolated from the rest of Maycomb's mainstream society. Prime examples of this isolation are Atticus and the Ewells; particularly Bob Ewell. Probably one of the most important and obvious point to Atticus Finch's isolation is his lack of prejudice towards black people. Although this might not be seen as something unusual at the present day, it was at that time. More obviously so because the story was set in the south where prejudice against the blacks was something that was taken for granted. The people in Maycomb knew that prejudice was wrong and yet, they didn't think that prejudice against the blacks was wrong. They saw it as a separate matter. An example of this would be the teacher telling the children that "Over here we don't believe in persecuting anybody. Persecution comes from people who are prejudiced." The irony in it is that the reader knows that the majority of Maycomb are prejudiced against the blacks and to say that Hitler was wrong in being prejudiced was hypocritical. Atticus though, wasn't prejudiced and this was what made him different. He lets Calpurnia, a black woman, take care and act as a mother to his children. This though is not really seen by the people of Maycomb. To the people of Maycomb, Calpurnia is merely a housekeeper; but she's actually much more than that. As he told Aunt Alexandra when Aunt Alexandra wanted to dismiss her, "She tried to bring them up according to her lights, and Cal's lights are pretty good." Unlike others, he appreciates what Calpurnia did for him. "We couldn't operate a single day without Cal, have you ever thought of that? You think how much Cal does for you?" He says this to Scout when she wanted Atticus to Many characters in To Kill A Mockingbird are isolated from mainstream :: To Kill a Mockingbird Essays Many characters in To Kill A Mockingbird are isolated from mainstream society. Discuss the ways in which Atticus Finch and one other character are set apart from the society of Maycomb To Kill A Mockingbird was set in the 1930s in the south of USA, Alabama. At that period, slavery had already been made illegal. But people in the south were a bitter about it because they still believed that they needed the slaves to maintain their cotton farms. They didn't treat the blacks as though they had the same social status as them and basically still treated them as though they were still slaves. This unfair prejudice was widespread throughout the south. "Maycomb", didn't actually exist but was meant to be the embodiment of a typical town in the south at that time. In Harper Lee's To Kill A Mockingbird, she has created characters who seem a little different and thus, isolated from the rest of Maycomb's mainstream society. Prime examples of this isolation are Atticus and the Ewells; particularly Bob Ewell. Probably one of the most important and obvious point to Atticus Finch's isolation is his lack of prejudice towards black people. Although this might not be seen as something unusual at the present day, it was at that time. More obviously so because the story was set in the south where prejudice against the blacks was something that was taken for granted. The people in Maycomb knew that prejudice was wrong and yet, they didn't think that prejudice against the blacks was wrong. They saw it as a separate matter. An example of this would be the teacher telling the children that "Over here we don't believe in persecuting anybody. Persecution comes from people who are prejudiced." The irony in it is that the reader knows that the majority of Maycomb are prejudiced against the blacks and to say that Hitler was wrong in being prejudiced was hypocritical. Atticus though, wasn't prejudiced and this was what made him different. He lets Calpurnia, a black woman, take care and act as a mother to his children. This though is not really seen by the people of Maycomb. To the people of Maycomb, Calpurnia is merely a housekeeper; but she's actually much more than that. As he told Aunt Alexandra when Aunt Alexandra wanted to dismiss her, "She tried to bring them up according to her lights, and Cal's lights are pretty good." Unlike others, he appreciates what Calpurnia did for him. "We couldn't operate a single day without Cal, have you ever thought of that? You think how much Cal does for you?" He says this to Scout when she wanted Atticus to

Male Gaze

Assignment: How have women been portrayed through photography? 16/01/2009 How have women been portrayed through photography? The gaze deals with how the audience views the people presented in visual culture, in this case, adverts, magazines and Cinema. The ‘male gaze’ is the male ability to exercise control over women by representing them in visual means as passive, sexual objects of male desire. The power of men over women has always existed. They are seen as the more powerful and clever species. This control over women has been seen predominately in linguistics senses in past times. It is clear that there are more derogatory terms for women than there are for men. Men can also wolf whistle or cat-call in order to harass a woman but there is no such response for women. Men also have more linguistic power over women due to their social status in modern society. In more current times men have turned to visual arts to implement their control and power over women. In this essay I hope to demonstrate how women are and have been portrayed in relation to the ‘male gaze’ and how it is still very prevalent in contemporary modern culture through photography and other mediums, such as, cinema and advertising. I will be analyzing the photographic work of Cindy Sherman, E. J. Bellocq, advertisement and the written work of Laura Mulvey and John Berger. Traditionally imagined, written and produced by men, advertisements have long depicted women as men want them to be, sexy, obedient, fragile, instead of as they actually are. In this way, the male gaze is very predominant in modern advertising. John Berger put it in Ways of Seeing, â€Å"Men act and women ‘appear’. Men look at women. Women watch themselves being looked at. †[i] When women look at themselves in modern advertisements, they are encouraged to view themselves as a man might view them. Women have very few roles in the world of advertising. Mainly they are portrayed as domestic providers who do not make significant decisions, are dependent on men, and are essentially sex objects. This traditional representation of women is a problem, not because it is wrong to want women to be sexy or striking but rather because their beauty is being defined as a means to male power through strategic admiration. Most adverts on television and in magazines have pretty, sexy women with the idea being that if you buy what they are selling than you will get the girl in the avert, or in a woman’s case, be the girl who gets her man. A good example of this is cigarette advertising; in this case I will be looking at a 1960’s ad campaign by Tiparillo. This campaign showed an off screen man offering a variety of women a choice in cigarettes and small text at the bottom of the advert discussing the cigarette but also a crude comment on the women pictured. The women appear to play strong roles, a Lab Technician, Librarian and Violinist, but the ‘male gaze’ is clear as though they may have strong positions, they are still portrayed as sexual objects. In the advert Tiparillo M – 1967 we see on first glance is what appears to be a strong, smart lab technician, the glasses help emphasise that she is intelligent. She is photographed from her cleavage upwards, The model dons a gormless expression, though it is stated why she may have this expression on her face in the text accompanying the advert, ‘Underneath that pocket of pencils beats the heart of a digital computer’, here we are made aware the women is actually a robot. This puts the women in the position of being passive, being programmed by the man. The way the male character is displayed off screen puts an emphasis on the spectator and how he ‘identifies with the main male protagonist, he projects his look onto that of his life, his screen surrogate. ’ [ii] the last sentence in the text is ‘ which Tiparillo are you going to offer? Or are you just going to stand there and stare at her pencils? ’ This comment is obviously referring to staring at the woman’s chest, the pencils are in line with her breasts. Cindy Sherman first came to prominence in the late 197 0’s[iii], when Sherman produced her Untitled Film Stills, which spotlights the complexities of the female persona as soon through the lens of the media. With the photographs she takes of herself, she impersonates various characters and shows us the numerous roles women play in our world. In her pictures she depicts women as housewife, sex symbol, lover, victim, monster and more, and causes us to reflect upon how we perceive women. The characters Sherman portrays, lighting, clothing and expressions are cliche of what is present in cinema, so much that viewers of her work have told Sherman that they ‘remember the movie’ that the image is derived from, yet Sherman having no film in mind at all. [iv] Thus showing that her word has a pastiche of past cinematic genres, and how women are portrayed in cinema and photography and how Sherman has manipulated the ‘male gaze’ around her images so they become ironic and cliche. Laura Mulvey understands Sherman’s Untitled Film Stills as to be rehearsing this structure of the ‘male gaze’, â€Å"The camera looks; it captures he female character in a parody of different voyeurisms. It intrudes into moments in which she is ungraded, sometimes undressed, absorbed into her own world in the privacy of her own environment. Or it witnesses a moment in which her guard drops and she is suddenly startled by the presence, unseen and off-scre en watching her. †[v] Voyeurism is most apparent Sherman’s work, in Untitled Film Still, #2 the subject is a young Sherman wrapped in a towel, which is draped from her back, revealing her buttocks if the image was to be taken a second later. Sherman stands before her bathroom mirror, touching her shoulder and following her own gesture in it’s reflected image. [vi]The way Sherman has positioned herself, mouth slightly open, a longing gaze, her hand caressing her shoulder, head tilt back, neck extended and in a profile position, the reflection appears to an extract from an issue of Vogue. A door is visible in the left of the image; this puts the viewer outside room, peering in at a moment where the subjects guard is down, a moment of privacy and emotion. In 1981 Sherman produced a series of images called Centrefolds; here Sherman photographed herself in series of narratives which have a ‘soft-core pastiche’ to her Untitled Film stills and association her horizontal framing to that of the format of ‘cinemascope’. In this series Mulvey focuses on the characters and the ‘masquerade of felinity’s interior’, â€Å"The young women that Sherman impersonates may be daydreaming about a future romance, or they may be mourning a lost one. They may be waiting, in enforced passivity, for a letter or a telephone call. Their eyes gaze into the distance. They are not aware of their clothes, which are sometimes carelessly rumpled, so that, safe alone with their thoughts, their bodies are, slightly revealed to the viewer. †[vii] Untitled #96 shows Sherman sprawled out on a titled floor, almost merging in with her orange ensemble, a warm tone on her skin also matching her outfit. Sherman is gazing dreamily out of frame whilst clutching (what could be) a personal’s ad torn from a newspaper. Krauss states that, â€Å"like Jackson Pollock, Sherman disturbs this verticality by using a downward camera angle in her photographs. Yes, the angle makes one aware of the horizontal, but it also emphasizes the vertical (power/domination) position of the viewer in relation to the apparent weakness of the horizontally inclined woman (Sherman). â€Å" [viii] Sherman’s Centrefold photographs have a ‘to-be-looked-at-ness’ of femininity. Unlike with Sherman’s Untitled Film Stills which have a fake narrative, the subjects would always be looking of of frame, so that the camera doesn’t drawn any unwanted attention, giving it that film aesthetic. Where Sherman’s 1981 Centrefolds do the opposite, they ‘announce themselves as photographs’, and in a pin-up, the model’s eroticism, and her pose, are directed towards the camera, and ultimately towards the spectator. [ix] Sherman only thought of the relation of the ‘male gaze’ in her 1981 work ‘Centrefold’s, â€Å"The horizon/ centrefold type pictures I did, were meant to resemble in format a centrefold, but in content I wanted a man opening the magazine to suddenly look at it in expectation of something lascivious and then feel like the violator they would be. Looking at these women perhaps as a victim†¦ I didn’t think of them of victims at the time. I am trying to make someone feel bad for having this sort of certain expectation, and so that is the only real time I’ve consciously thought of the male gaze. †[x] Sherman wants the viewer, in this case the male spectator, to feel wrong for applying the gaze, and stereotyping women into a passive, victim, love sick women which is often depicted in both cinema and photography. When opening the magazine Sherman wants to feel like a violator, having expected sexually orientated image, by almost walking in on someone in a private moment. In one of Sherman’s more recent works, Untitled # 276 we see her represent Cinderella, a famous female from western fairy tale. Sherman portrays this childhood character her in a way that is radically different from any other representation and is polar opposite to that of say Disney. The only similarity between Disney's Cinderella and Sherman as Cinderella is their blond hair. Disney's portrayal of Cinderella is innocent, sweet, modestly dressed in a beautiful gown and jewels with a perfectly proportioned body stereotypical for an attractive female, waiting for her prince to come and take her away from her problems. However, Sherman is made up to look like a whats could be resembled as ‘white trash’, her dress is see through and her breasts (presumably fake) are visible. Her legs are spread inviting the spectator and there is large black area between her legs, which could possibly be (knowing Sherman) pubic hair. She looks anything but innocent as she assumes a confident, sexually charged attitude in a take me or leave me kind of posture. She looks like she could give a damn if her princes comes and perhaps she wouldn't even acknowledge him if he did arrive. Ironically, she is holding a white lily, the traditional ‘symbol of purity’ White lilies represent the purity of the Virgin Mary. The Angel Gabriel was often painted presenting Mary with a white lily when he announced to her that she would give birth to the Son of God. [xi] Here Sherman has depicted a more realistic male depiction of what Cinderella would look like. I think that this reaction is typical; a symbol of the sexism present in society, traditional beauty is good, a whore, unconventional beauty, a promiscuous woman and nudity is bad. E. J. Belloq’s images of prostitutes taken the town of Storyville, New Orleans in the early 1900’s ‘encapsulate’ the ‘male gaze’. [xii] All the photographs are portraits of individual women. Some are nude, some dressed respectably, and others posed as if acting a mysterious narrative. Even though Belloq’s images contain nudity, this is not where the ‘male gaze’ is prevalent, it’s the fact that his subject’s are prostitutes and their sole function is to ‘advertise what the body has to offer’. The way Belloq has photographed his subject is in a documentary style, unlike where Sherman has taken a film narrative to her images, Belloq photographed his subject full frame and frontal. Untitled 01 is of young women elegantly laid out on a chaise-lounge. Apart from the Zorro like mask she is only wearing black stockings and what appears to be a wedding ring. This image is a prime example of the ‘male gaze’. The way she is laid out, naked, facing the camera so that she is displaying her ‘goods’ to her client. Her face is covered by a mask, is can be seen as to protect her identity, but also is can be related to women as a sexual object. This image has a ‘come-hither quality’, a relaxed pose and an inviting smile, with just enough room for the client/ spectator to sit on the chaise-lounge. The first things what strikes the viewer in Untitled 02, is that the face of the prostitute has been ‘scratched out’. Susan Sontag stated that ‘these pictures [of blacked out faces] are actually painful to look at, at least for the viewer. But then I am and women†¦ ’[xiii] Even from a males point of view I do find these image subjective to women as without a face there is no identity, purely and object of sexual desire. The scratched out faces can be seen as violent towards women. The woman in the picture seems to have a back slightly arched and hand behind her head. She could be tying her hair or extenuating her breasts for the spectator, in this case the client. The woman appears to be quite petite, possibly young, maybe that’s the reason why the face has been scratched away? We can conclude that the ‘male gaze’ has been used throughout Photography, from both male (Belloq ) and female (Sherman) perspective, but both have used the ‘male gaze’ in different ways. Belloq’s has used it unconsciously through his documentary/portraiture images, which depicts women as more of a sexual object and something to be desired. Where Sherman’s has used it consciously through her well composed narrative images, taking the stereotypical ideals of women and photographed them in a cliche style which is all but apparent in past and present cinema. ——————————– [ i ]. John Berger, Ways of Seeing (London: BBC, 1974) [ ii ]. Laura Mulvey, A Phantasmagoria of the Female Body: The Work of Cindy Sherman, New Left review, vol. 188 July/August 1991 pp. 8 [ iii ]. http://www. artfacts. net/index. php/pageType/exhibitionInfo/exhibition/13349/lang/1 [ Accessed 28 December 2008] [ iv ]. Listbet Nilson – Q & A: Cindy Sherman, American photographer, September 1983 p. 77 [ v ]. Laura Mulvey, A Phantasmagoria of the Female Body: The Work of Cindy Sherman, New Left review, vol. 88 July/August 1991 pp. 5 [ vi ]. Cindy Sherman 1975 – 1993 – Rosalind Kraus, Rizzoli International Publications, 1993 pp. 56 [ vii ]. Laura Mulvey, A Phantasmagoria of the Female Body: The Work of Cindy Sherman, New Left review, vol. 188 July/August 1991 pp. 5 [ viii ]. THE SHERMAN PHENOMENA: The Image of Theory or a Foreclosure of Dialectical Reasoning – http://www. brickhaus. com/amoore/magazine/Sherman. html [ Accessed 29 December 2008] [ ix ]. Laura Mulvey, A Phantasmagoria of the Female Body: The Work of Cindy Sherman, New Left review, vol. 88 July/August 1991 pp. 6 [ x ]. Ovation TV | Cindy Sherman, Nobody's Here But Me – http://www. youtube. com/watch? v=Xsow0QaKJAM [ Accessed 28 December 2008] [ xi ]. http://painting. about. com/cs/inspira tion/a/symbolsflowers. htm [ Accessed 04 January 2009] [ xii ]. Graham Clarke, The Body in Photography, chapter 7 of The Photograph (Oxford: Oxford University Press, 1997), pp. 123-144 [ xiii ]. Bellocq: Photographs from Storyville, the Red-Light District of New Orleans susan sontag – http://www. masters-of-photography. com/B/bellocq/bellocq_articles2. html [

Trace Evidence Essays - Forensic Evidence, Forensics, Trace Evidence

Trace Evidence Essays - Forensic Evidence, Forensics, Trace Evidence Trace Evidence Trace evidence is very important in forensic investigations. This category of evidence encompasses many diverse types of microscopic materials as well as some examples that are easily visible to the naked eye. The subject is broad and diverse because of the number of different types of evidence that are commonly encountered. Trace evidence can be thought of as evidence occuring in sizes so small that it can be transferred or exchanged between two surfaces without being noticed. Varieties of trace evidence can include, but are not limited to: metal filings, glass fragments, feathers, food stains, building materials, lubricants, fingernail scrapings, pollens and spores, cosmetics, plastic fragments, gunshot residue, chemicals, paper fibers and sawdust, human and animal hairs, plant and vegetable fibers, blood and other body fluids, asphalt or tar, vegetable fats and oils, dusts and other airborne particles, insulation, textile fibers, soot, soils and mineral grains, and e! xplosive residues. Forensic scientists routinely come into contact with a relatively few number of these. They are: hair, glass, paint, fibers, fingerprints, and flamable liquids. These will be covered more in-depth in this paper. Edmond Locard, a French scientist and one of the early pioneers in forensic science believed strongly that individuals could not enter an area without taking dust particles with them from the scene. This became known as what is now called "Locard's Exchange Principle." This principle states that when two objects come into contact with each other, each of the objects will leave particles of one on the other. It is this principle that is the foundation of the forensic study of trace evidence. Trace evidence examination is the examination and analysis of small particles in order to help establish a link between a suspect and a crime scene or a suspect and the victim of a crime. These small particles usually include such items as hair, paint, glass, and fibers. Although not considered "trace" items by definition the many Crime Labs also examine and analyze such important evidence as flammables (in arson investigations), fingerprints, footwear (shoeprints), and "fracture matches." Many also perform examinations of automobile headlamps, taillights and speedometers. The first category of trace evidence I will discuss is hair. Hair is examined grossly (with the naked eye), and with both low power and high power microscopes to determine if questioned hairs, found at the scene or on the clothing of an individual are consistent in characteristics to known hair collected from the suspect and/or victim. Some of these characteristics include more obvious traits such as color, length, and morphological shape and also microscopic aspects of the cuticle, cortex and medulla, which are the three basic components of a hair. A hair cannot be linked specifically to an individual through these methods but vital information developed as to who the suspect may be and significant elimination of other suspects can often be done. It is possible to tell the race, sex, and region of the body that a hair comes from. A relative idea as to the time since the last haircut can also be made. The second type of trace evidence is glass. When larger samples are available glass can be useful in linking a suspect with the crime scene through "fracture matches". This is when a larger piece of glass, found associated with the suspect, can be physically fitted with one or more pieces from the crime scene. More often when an individual gains access to a business or dwelling by breaking glass the perpetrator will acquire very tiny pieces of glass on his/her clothing. These cannot be physically matched due to their tiny size. However, these pieces, though smaller than a pinhead, can be characterized under the microscope. After proper gross and low power microscopic examinations are performed the Forensic Scientists use microscopic "refractive index" determination to further characterize the samples. Refractive index is a measurement of how light is "refracted" (bent) as it passes through the microscopic glass sample. Glasses having different formulations and used for differe! nt purposes have different RI's. Therefore samples can be compared to determine if the glass from the crime scene could be the source of the glass removed from the suspect's clothes. The third type of trace evidence is paint. When perpetrators break into businesses

Gay-Lussacs Ideal Gas Law Examples

Gays Gay-Lussacs gas law  is a special case of the  ideal gas law  where the volume of the gas is held constant. When the volume is held constant, the pressure exerted by a gas is directly proportional to the absolute temperature of the gas. The law is also known as Gay-Lussacs law of pressure temperature. Gay-Lussac formulated the law between 1800 and 1802 while building an air thermometer. These example problems use  Gay-Lussacs law to find the pressure of gas in a heated container as well as the temperature you would need to change the pressure of gas in a container. Key Takeaways: Gay-Lussac's Law Chemistry Problems Gay-Lussacs law is a form of the ideal gas law in which gas volume is kept constant.When volume is held constant, pressure of a gas is directly proportional to its temperature.The usual equations for Gay-Lussacs law are P/T constant or Pi/Ti   Pf/Tf.The reason the law works is that temperature is a measure of average kinetic energy, so as the kinetic energy increases, more particle collisions occur and pressure increases. If temperature decreases, there is less kinetic energy, fewer collisions, and lower pressure. Gay A 20-liter cylinder contains 6  atmospheres (atm)  of gas at 27 C. What would the pressure of the gas be if the gas was heated to 77 C? To solve the problem, just work through the following steps:The cylinders volume remains unchanged while the gas is heated so Gay-Lussacs gas law applies. Gay-Lussacs gas law can be expressed as:Pi/Ti Pf/TfwherePi and Ti are the initial pressure and absolute temperaturesPf and Tf are the final pressure and absolute temperatureFirst, convert the temperatures to absolute temperatures.Ti 27 C 27 273 K 300 KTf 77 C 77 273 K 350 KUse these values in Gay-Lussacs equation and solve for Pf.Pf PiTf/TiPf (6 atm)(350K)/(300 K)Pf 7 atmThe answer you derive would be:The pressure will increase to 7 atm after heating the gas from 27 C to 77 C. Another Example See if you understand the concept by  solving another problem: Find the temperature in Celsius needed to change the pressure of 10.0 liters of a gas that has a pressure of 97.0 kPa at 25 C to standard pressure. Standard pressure is 101.325 kPa. First, convert  25 C to  Kelvin  (298K).  Remember that the Kelvin temperature scale is an  absolute temperature  scale based on the definition that the  volume  of a  gas  at constant (low)  pressure  is directly proportional to the  temperature  and that 100 degrees separate the  freezing  and  boiling points  of water. Insert the numbers into the equation to get: 97.0 kPa / 298 K 101.325 kPa / x solving for x: x (101.325 kPa)(298 K)/(97.0 kPa) x 311.3 K Subtract 273 to get the answer in Celsius. x 38.3 C Tips and Warnings Keep these points in mind when solving a  Gay-Lussacs law problem: The volume and quantity of gas are held constant.If the temperature of the gas increases, pressure increases.If temperature decreases, pressure decreases. Temperature is a measure of the kinetic energy of gas molecules. At a low temperature, the molecules are moving more slowly and will hit the wall of a  containerless  frequently. As temperature increases so do the motion of the molecules. They strike the walls of the container more often, which is seen as an increase in pressure.   The direct relationship only applies if the temperature is given in Kelvin. The most common mistakes students make working this type of problem is forgetting to convert to Kelvin or else doing the conversion incorrectly. The other error is neglecting  significant figures  in the answer. Use the smallest number of significant figures given in the problem. Sources Barnett, Martin K. (1941). A brief history of thermometry. Journal of Chemical Education, 18 (8): 358. doi:10.1021/ed018p358Crosland, M. P. (1961), The Origins of Gay-Lussacs Law of Combining Volumes of Gases, Annals of Science, 17 (1): 1, doi:10.1080/00033796100202521Gay-Lussac, J. L. (1809). Mà ©moire sur la combinaison des substances gazeuses, les unes avec les autres (Memoir on the combination of gaseous substances with each other). Mà ©moires de la Socià ©tà © dArcueil 2: 207–234.  Tippens, Paul E. (2007). Physics, 7th ed. McGraw-Hill. 386–387.

Fragmentary Sentences and Sentence Fragments

Fragmentary Sentences and Sentence Fragments Fragmentary Sentences and Sentence Fragments Fragmentary Sentences and Sentence Fragments By Mark Nichol A sentence can be fragmentary, but it shouldn’t be a fragment. What’s the difference? Writers should distinguish between fragmentary sentences and sentence fragments. The following sentences are fragmentary: â€Å"A virtuoso performance? Some virtuoso.† Despite the absence of a subject and a verb, which are considered standard components of a sentence, the reader fills in the missing parts: (â€Å"[Do you call that] a virtuoso performance? [That musician is] some virtuoso.†) A sentence fragment, by contrast, is usually a dependent clause formatted as if it were a complete sentence, such as the second sentence in the following passage: â€Å"I went to the store. Because I need to buy some toiletries for my trip.† The form shown in the second sentence isn’t necessarily always wrong; it’s appropriate as a response in colloquial dialogue: â€Å"Why did you go to the store?† â€Å"Because I need to buy some toiletries for my trip.† Otherwise, however, it’s erroneous. It’s possible, too, for a complete sentence to be misconstrued as a sentence fragment because of a simple error such as omission of punctuation. For example, â€Å"Before I was inclined to agree† is a sentence fragment, because the words do not constitute a complete thought; no useful information has been conveyed. The implication is that a condition will be described: â€Å"Before I was inclined to agree, I needed more proof.† If, however, before is supplied as an adverbial tag, followed by a comma (â€Å"Before, I was inclined to agree†), the wording becomes a coherent statement indicating that in the past, the writer would likely have agreed with something. Presumably, a sentence will follow with a similarly constructed reversal written in the present tense (â€Å"Now, I’m not so sure†). However, fragmentary sentences are valid. Besides the commentary form, shown above in the examples about the alleged virtuoso, they may take the form of interjections (â€Å"Whew!† â€Å"How sad!† â€Å"What a nightmare!†), expressions (â€Å"Good job!† â€Å"So long!†), and partial imperatives (â€Å"To the castle!†) Though, of course, exclamation points are not required in fragmentary sentences, they are common, and note that such sentences are considered colloquial and should be used with caution in formal writing. You with me? Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Style category, check our popular posts, or choose a related post below:Coordinating vs. Subordinating ConjunctionsThe Letter "Z" Will Be Removed from the English AlphabetHow to Style Titles of Print and Online Publications